DOCSLIB.ORG

Acting III THR 369.2 Continuing the Exploration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Acting III THR 369.2 Continuing the Exploration MWF 10:00-10:50am Tom Prior, Instructor Fall 2007 Email: [email protected] Office hours: MWF by appt. Phone: (936) 294-1328 Office Location: UTC-112 Class Location: UTC-151 Acting III THR 369.2 Continuing the Exploration THIS SYLLABUS, SUPPLEMENTAL INFORMATION, ANNOUNCEMENTS AND GRADES CAN BE FOUND ON THE BLACKBOARD WEBSITE-PLEASE CHECK IT FREQUENTLY! http://blackboard.shsu.edu Class objective: To explore the skills and tools necessary for advanced scene work. We will be using the works of Anton Chekhov and Tennessee Williams during the semester, supplemented with various exercises. These exercises are designed to lead to the understanding of more advanced concepts and techniques of the acting process. Using Michael Shurtleff’s book Audition, we will continue more advanced work on the moment before, intentions/motivation of character, listening on-stage and making strong and creative choices. Additionally, we will be delving into monologue work, increasing the student’s repertoire. Required Text: Audition…………………………………….Michael Shurtleff On Reserve in Library: Uncle Vanya …………………………………Anton Chekhov Wild Honey…Michael Frayn (adaptation of Platonov by Anton Chekhov) The Seagull…………………………………..Anton Chekhov Streetcar Named Desire, Cat on a Hot Tin Roof (and one TBA) …Tennessee Williams I may be adding additional texts, which I will also place on reserve. Classroom Attire: Please wear clothes that you feel comfortable moving in. Loose fitting clothing such as sweatpants and T-shirts are best. Classroom Etiquette: This class is a CELL PHONE AND PAGER FREE ZONE!! Turn them off when you walk through the door!! Attendance: Please be here on time ready to work. If you are absent more than four classes, five (5) points will be deducted from your FINAL grade for each absence. Also, it is important that you come to class on time, ready to work. Three tardies = 1 absence. Excessive tardiness will result in a reduction of your final grade. Participation: ALL STUDENTS ARE EXPECTED TO PARTICIPATE IN ALL ACTIVITIES AND EXERCISES AND DISCUSSIONS. Participation is vital in this class and will count for a good portion of your grade (see grade breakdown below). Exciting, breathing, vibrant theatre is not possible without everyone contributing artistically: giving his or her own 'creative' input. Evaluations will be made on all exercises, monologues and scene work. This evaluation also expands to the day-to-day involvement of each student. Course Requirements Monologue Work. Each student will continue to build their monologue repertoire and will be expected to find four monologues from each of the following categories: (the playwrights listed are examples only) • Period Classical Comedy o Greek—Aristophanes o Restoration---Sheridan, Goldsmith, Behn, Moliere, o Elizabethan---Shakespeare, Jonson, Fletcher • Period Classical Drama o Greek---Sophocles, Euripides, Aeschylus o Restoration: Racine, Hugo, Corneille o Elizabethan: Shakespeare, Marlowe • Modern Classical i.e.: prior to 1930 ex. Shaw, Wilde, Synge • Nonrealistic: Beckett, Pinter, Ionesco, Jarre If time allows, each student will workshop two of these monologues in class, and two outside of class. More information TBA. Scene work: I will assign each student two scenes from the plays in the list above: one Chekhov scene and one Williams’s scene. I will assign scene partners. You will be workshopping each scene twice, culminating in a final “performance level” attack of the Williams scene at the end of the semester with suggested props and costumes. ** All performance assignments will be scheduled in a particular order, if you are ABSENT on a performance day, YOU WILL NOT BE ABLE TO MAKE UP THIS PERFORMANCE ASSIGNMENT and will receive a ZERO for the scene. Your partner will NOT be penalized. Actor’s Notebook: You are required to keep a notebook with monologues and scenes which have been broken down into beats, etc. This notebook must be a 1” binder and all the sheets must be hole punched. In this notebook, you will keep a rehearsal journal of discoveries made, new problems that arise, time span of rehearsal day to day, etc. You will use “Rehearsal Information Sheets” which I will put on Blackboard. You will need to fill one out for EACH rehearsal and then place them in your notebook. Also in the notebook, you will keep a character journal from either your Chekhov or Williams’ character’s point of view. I’ll explain this in class. One Critique on Department Production: Learn by viewing: Each of you is required to attend all department productions this semester (Mainstage and Showcase productions) One 3-page minimum critique is required of one production-- your choice. You should concentrate on the acting: what worked, what didn't work and base it on concepts learned in class. More information on this TBA. Talk to me! I want you to feel that you can contact me anytime regarding anything in class. You can email me (I check it twice a day, sometimes more), or drop me a note in my box in the office. Please do not hesitate to contact me regarding questions on class activities or scenes throughout the semester. 2 Academic Honesty: The University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Please consult the following link for a full description of the university’s academic honesty policy: http://www.shsu.edu/~vaf_www/aps/documents/810213.pdf Student Absences on Religious Holy Days Policy A student desiring to miss a scheduled class in order to observe (a) religious holy day(s) should present a written statement concerning the religious holiday to me at least 2 weeks before the absence. I will then notify the student of a reasonable timeframe in which the missed assignments are to be completed. Americans with Disabilities Act SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may adversely affect your work in this class, then I encourage you to register with the SHSU Counseling Center and to talk to me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. NOTE: no accommodation can be made until you register with the Counseling Center by calling (936) 294-1720. GRADE BREAKDOWN: Monologue Workshop ……………………………………………………………. 10% Chekhov Scene Workshop 1………………………………………………………. 7.5% Chekhov Scene Workshop 2 ……………………………………………………… 12.5% Williams Scene Workshop 1……………………………………………………….7.5% Williams Scene Workshop 2…………………………………….. ……………….. 12.5% Rehearsal Notebook, inc. character journal……………………………………….. 15% Critique……………………………………………………………………………. 10% Final (Williams Scene Presentation) ………………………………………………15% ** Participation ………………………………………………………………………. 10% ** (There is a direct correlation between your attendance and this grade RECOMMENDED READING An Actor Prepares.............................................…Constantin Stanislavski Backwards and Forwards…………………… David Ball (I highly recommend this book!) On Acting............................................................. Sanford Meisner Respect for Acting............................................... Uta Hagen A Challenge for the Actor………………………. Uta Hagen Method-Or Madness............................................ Robert Lewis The Actor's Ways and Means.............................. Michael Redgrave True and False…………………………………… David Mamet A Practical Handbook for the Actor…………… Melissa Bruder (and others) A Dream of Passion………………………………Lee Strasberg Impro……………………………………………...Keith Johnstone How to Act & Eat at the Same Time……………...Tom Logan 3.
Load more

Recommended publications
  • Drama Audition Female Senior Monologues
    Drama Audition Female Senior Monologues Northmead Creative & Performing Arts High School NSW, Department of Education and Training N S W , Classical and contemporary audition pieces. Department of Education and T r a i n i n g Imagine, Endeavour, A c h i e v e Northmead CAPAHS Campbell Street Northmead N S W 2 1 5 2 02 96304116 P r i n c i p a l – N . V a z q u e z Northmead Creative & Performing Arts High- Drama Audition The following pieces have been chosen from standard editions of the works. You may use the equivalent monologue from a different edition of the play, for example, if you have access to a different edition of the Shakespeare plays. For translated works, we have chosen a particular translation. However, you may use another translation if that is the version available to you. If you cannot access the Australian plays through your local library, bookshop or bookshops on our suggested list, published editions of the Australian plays are generally available through Currency Press. AUDITION PROCESS You will be required to choose one monologue from the list provided to perform. Please note the delivery time of a monologue may vary depending on your interpretation of the chosen piece. Usual estimated time is between three to eight minutes. So please make sure your monologue is within this time frame. You may be asked to deliver your chosen piece more than once. You will also be tested for improvisation skills. So be prepared to use your imagination and creativity. A script may be handed to you during the audition.
    [Show full text]
  • Round Lake Elementary Schoo
    Round Lake Elementary School - 2007 Accelerated Reader List - By Title http://www.lakeline.lib.fl.us/resources/accelerated_reading_lists/html/R... Round Lake Elementary School 2007 Accelerated Reader List - By Title Book Quiz No. Title Author Points Level 48028 EN 100-Pound Problem, The Dussling, Jennifer 2.5 0.5 17351 EN 100 Unforgettable Moments in Pro Baseball Italia, Bob 5.5 1.0 17352 EN 100 Unforgettable Moments in Pro Basketball Italia, Bob 6.5 1.0 17353 EN 100 Unforgettable Moments in Pro Football Italia, Bob 6.2 1.0 17354 EN 100 Unforgettable Moments in Pro Golf Italia, Bob 5.6 1.0 17355 EN 100 Unforgettable Moments in Pro Hockey Italia, Bob 6.1 1.0 17356 EN 100 Unforgettable Moments in Pro Tennis Italia, Bob 6.4 1.0 17357 EN 100 Unforgettable Moments in Summer Olympics Italia, Bob 6.5 1.0 17358 EN 100 Unforgettable Moments in Winter Olympics Italia, Bob 6.1 1.0 18751 EN 101 Ways to Bug Your Parents Wardlaw, Lee 3.9 5.0 14796 EN 13th Floor: A Ghost Story, The Fleischman, Sid 4.4 4.0 67305 EN 17 Kings and 42 Elephants Mahy, Margaret 3.7 0.5 8251 EN 18-Wheelers Maifair, Linda Lee 5.2 1.0 661 EN 18th Emergency, The Byars, Betsy 4.7 4.0 15903 EN 19th Century Girls and Women Kalman, Bobbie 5.5 0.5 103480 2 Good 2 B True Alfonsi, Alice 4.4 2.0 EN 7351 EN 20,000 Baseball Cards under the Sea Buller, Jon 2.5 0.5 11592 EN 2095 Scieszka, Jon 3.8 1.0 6201 EN 213 Valentines Cohen, Barbara 4.0 1.0 30629 EN 26 Fairmount Avenue De Paola, Tomie 4.4 1.0 68113 EN 3, 2, 1 Go! A Transportation Countdown Schuette, Sarah L.
    [Show full text]
  • The Cambridge Companion to Chekhov Edited by Vera Gottlieb and Paul Allain Index More Information
    Cambridge University Press 0521581176 - The Cambridge Companion to Chekhov Edited by Vera Gottlieb and Paul Allain Index More information INDEX OF WORKS BY CHEKHOV Aga®a 4, 9 Conspirator, The 9 Anna on My Neck 149±50 Anniversary, The Esee also Jubilee) 58, 66, Daughter of Albion, The 149, ®lm, and see 166, 236 also Appendix 1 Ariadna 205, 207 Dark Eyes E®lm) 154 and see Appendix 3 At a Country House 51 Dead Body, A 9 At Dusk 10 Death of a Clerk, The /Death of a Petty August E®lm adaptation of Uncle Vanya Of®cial 8, 150 directed by Anthony Hopkins ± see also Disturbing the Balance 211 Uncle Vanya) 158±9 Don Juan Bin the Russian Manner) Esee also Platonov)48 Bear, The/The Boor 7, 10, 57±8, 59, 61, 62, Duel, The 9, 10, 206, 208, 211 63, 65, 66, 68 n.9, 100 n.3, 162, 163, 166 Dreary Story, A 7, 23, 204, 205, 206, 208, Belated Blossom/Late Blossoms/The Flowers 209 are Late 7, 112, 149 Big Volodia and Little Volodia 210 Easter Eve 9 Bishop, The 9, 13, 204 Enemies, The 9 Black Monk, The 7, 26, 208 Bride, The/The FianceÂe/The Marrigeable Girl Fat and Thin 7, 8 24, 211 Fatherlessness Esee also Platonov) 43, 47, 163 Burbot, The 208 Fireworks on the James Esee also Platonov) 48 Cases of Mania Grandioza 20 Fortune 205, 212 Chameleon/A 6, 8, 150 Fragments/Fragments of Moscow Life Children 9 BOskolki) 6, 9, 228 Cherry Orchard, The xxii Eillus.), xxx, xxxiii, 7, 13, 14, 18, 22, 24±5, 29, 30, 31, 55, 55 Gloomy People 10 n.3, 59, 60, 62, 63±4, 65, 66, 68 ns.5, 9 Grasshopper, The 153, 207 and 11, 69 n.19, 91, 93, 95, 97, 104, 108, Gusev 4, 10 109 n.6, 110
    [Show full text]
  • Rpquiz List Report Preview
    Reading Practice Quiz List Report Page 1 Accelerated Reader®: Thursday, 03/04/10, 02:15 PM Southworth Elementary Reading Practice Quizzes Int. Book Point Fiction/ Quiz No. Title Author Level Level Value Language Nonfiction 1235 The 100th Day of School Angela Shelf Medearis 1.5 0.5 English 41025 The 100th Day of School Angela Shelf Medearis LG 1.4 0.5 English Fiction 661 The 18th Emergency Betsy Byars MG 4.1 3.0 English Fiction 7351 20,000 Baseball Cards Under the JonSea Buller LG 2.6 0.5 English Fiction 523 20,000 Leagues Under the Sea (Unabridged)Jules Verne MG 10.0 28.0 English Fiction 992 2095 Jon Scieszka 5.0 1.0 English 6201 213 Valentines Barbara Cohen LG 3.1 2.0 English Fiction 30629 26 Fairmount Avenue Tomie De Paola LG 4.4 1.0 English Fiction 166 4B Goes Wild Jamie Gilson MG 5.2 5.0 English Fiction 1223 50 Below Zero Robert Munsch 2.8 0.5 English 31170 The 6th Grade Nickname Game Gordon Korman MG 4.4 3.0 English Fiction 413 The 89th Kitten Eleanor Nilsson MG 4.3 2.0 English Fiction 76205 97 Ways to Train a Dragon Kate McMullan MG 3.3 2.0 English Fiction 79509 The A+ Custodian Louise Borden LG 4.5 0.5 English Fiction 101 Abel's Island William Steig MG 6.2 3.0 English Fiction 44236 Abigail's Drum John A. Minahan MG 4.6 1.0 English Fiction 18652 Abraham Lincoln Ingri/Edgar Parin D'AulaireLG 5.2 1.0 English Fiction 12573 The Absolutely True Story...How WilloI Visited Davis Yellowstone..
    [Show full text]
  • In This Is the End of Sleeping
    The Chekhov Now Festival, in collaboration with ROTOR Productions, and Massachusetts Institute of Technology PRESENTS: IN THIS IS THE END OF SLEEPING After the Platonov fragment by CHEKHOV directed by JAY SCHEIB video and sound by LEAH GELPE, stage and light by JEREMY MORRIS, costumes by JESSICA HINEL, objects/art direction by BARA JICHOVA KIRKPATRICK, assistant director ADAM PERLMAN, stage managed by BELINA MIZRAHI, adapted and directed by JAY SCHEIB With performances by Eliza Bent, Gaëtan Bonhomme, Vanessa Burke, John Dewis, Olga Victorovna Fedorishcheva, Caleb Hammond, Joan Jubett*, Emily Knapp, Dan Liston, Eric Dean Scott*, Tao Wang * COURTESY OF ACTORS EQUITY, AEA SHOWCASE APPROVED Performances In New York City, as part of the Chekhov Now Festival: Opens Friday, Nov 12 at 8pm—and runs Nov 13 at 8pm; Nov 14 at 2pm; Nov 17 at 8pm; Nov 18 at 8pm; and Nov 20 at 5pm At the Connelly Theatre, 220 East 4th Street Tickets for the Chekhov Now Festival: 212.352.3101 or www.theatremania.com www.rotorproductions.com Anton Chekhov 1860-1904 About the Company (cont.) Adapted from the "Index of Chekhov productions" in Laurence Senelick’s book The Chekhov Theatre Joan Jubett (Anna Voynitsev) NEW YORK: Mac Wellman’s reading of School for Devils chronology (Primary Stages, Dir. Ken Rus Schmoll), co-author and performer with Jerusha 1860 Anton Chekhov born to the son of a former serf (now a grocer) Klemperer in Ritalin for Two (UNDER St. Marks, Dir. Rosemary Andress), Koltès’ Battle 1879 Chekhov enrolls in the Moscow University Medical school of Black and Dogs (Ohio Theatre, KoltèsNY2003 Festival, Dir.
    [Show full text]
  • Select Bibliography
    Select Bibliography Editions of Chekhov’s plays and short stories consulted or cited Bentley, E., ed. and trans., The Brute and Other Farces by Anton Chekhov, Grove Press, New York, 1958. Bristow, E. K., trans. and ed., Anton Chekhov's Plays, W. W. Norton and Com- pany, New York, 1977. Chekhov, A. (unknown translator), The Plays of Anton Chekhov, J. J. Little and Ives Company, New York, 1935. Chekhov, A. (unknown translator), The Cherry Orchard, Dover Publications, New York, 1991. Dunnigan, A., Chekhov: The Major Plays, The New America Library, New York, 1964. Fell, M. and West, J., trans., Tchekoff: Six Famous Plays, Gerald Duckworth and Co., London, 1949. Fen, E., ed., Chekhov Plays, Penguin, Harmondsworth, 1954. Frayn, M., trans., Wild Honey, Methuen, London, 1984. Frayn, M., trans., Chekhov Plays, Methuen Drama, London, 1988. Frayn, M., trans., The Seagull, Allen & Unwin, London, 1989. Gems, P., Uncle Vanya: A New Version, Eyre Methuen, London, 1980. Griffiths, T., ed., The Cherry Orchard, new English version, from Rapaport, H., trans., Pluto Press, London, 1981. Guthrie, T. and Kipnis, L., trans., The Cherry Orchard, University of Minnesota Press, Minneapolis, 1965. Hingley, R., The Oxford Chekhov, Vol. 1, Short Plays, Oxford University Press, London, 1968. Hingley, R., The Oxford Chekhov, Vol. 2, Platonov, Ivanov, The Seagull, Oxford University Press, London, 1967. Hingley, R., The Oxford Chekhov, Vol. 3, Uncle Vanya, Three Sisters, The Cherry Orchard, The Wood Demon, Oxford University Press, London, 1964. Hingley, R., The Oxford Chekhov, Vol. 4, Stories 1888±1889, Oxford University Press, London, 1980. Hingley, R., The Oxford Chekhov, Vol. 5, Stories 1889±1891, Oxford University Press, London, 1970.
    [Show full text]
  • Crystal Reports Activex Designer
    Quiz List—Reading Practice Page 1 Printed Monday, April 16, 2012 11:05:06AM School: Hoquiam Middle School Reading Practice Quizzes Quiz Word Number Lang. Title Author IL ATOS BL Points Count F/NF 9758 EN Bringing the Rain to Kapiti Plain Aardema, Verna LG 4.6 0.5 717 F 5550 EN Why Mosquitoes Buzz in People's Aardema, Verna LG 4.0 0.5 1,219 F Ears: A West African Tale 14545 EN Barry Sanders: Star Running Back Aaseng, Nathan MG 6.5 2.0 13,703 NF 5365 EN Great Summer Olympic Moments Aaseng, Nathan MG 7.9 2.0 12,708 F 5366 EN Great Winter Olympic Moments Aaseng, Nathan MG 7.4 2.0 11,404 F 11229 EN Sports Great John Stockton Aaseng, Nathan MG 6.9 2.0 10,203 NF 6739 EN Sports Great Michael Jordan Aaseng, Nathan MG 6.3 2.0 9,766 NF 31310 EN Titanic (Building History), The Aaseng, Nathan UG 10.1 4.0 20,691 NF 129436 EN Bayou Dogs Abbott, Tony MG 3.7 3.0 21,499 F 127484 EN City of the Dead Abbott, Tony MG 3.7 3.0 25,165 F 13390 EN Danger Guys Abbott, Tony LG 2.9 1.0 6,800 F 106747 EN Firegirl Abbott, Tony MG 4.1 4.0 31,458 F 133669 EN Ghost Road, The Abbott, Tony MG 4.0 4.0 30,729 F 54493 EN Hawk Bandits of Tarkoom, The Abbott, Tony MG 3.5 2.0 11,598 F 65672 EN Magic Escapes, The Abbott, Tony MG 3.7 2.0 16,966 F 54487 EN Quest for the Queen Abbott, Tony MG 3.3 1.0 10,428 F 130963 EN Red House, The Abbott, Tony MG 3.9 3.0 21,390 F 78108 EN Wizard or Witch? Abbott, Tony MG 3.3 2.0 16,766 F 27108 EN Charlie Anderson Abercrombie, Barbara LG 2.5 0.5 524 F 5490 EN Song and Dance Man Ackerman, Karen LG 4.0 0.5 834 F 12456 EN Dear Peter Rabbit Ada, Alma
    [Show full text]
  • Stupid Fucking Bird
    Next on our MISS BENNET: CHRISTMAS THE MERCHANT OF ALABAMA STORY AT PEMBERLEY VENICE stage: NOV. 16-DEC. 17 JAN. 18-FEB. 18 MARCH 22-APRIL 22 HIGHLIGHTS A companion guide to Stupid Fucking Bird by Aaron Posner sort of adapted from The Seagull by Anton Chekhov original music by James Sugg; directed by Kirsten Brandt September 14-October 15, 2017 Above: From left, tortured playwright Con (Jacob Marker), cheerful but lovelorn Dev (Tasi Alabastro), aspiring actress Nina (Sarah Haas) and gloomy cook Mash (Sharon Shao) in Stupid Fucking Bird. Previous page: Sharon Shao, who plays ukulele and sings in the show. All show photos by Taylor Sanders. Synopsis This is Chekhov — as you’ve never seen it. Award-winning playwright Aaron Posner’s bold, raucous, contemporary riff on The Seagull moves the action to a country house where requited desire drowns in sarcasm and alcohol. Actresses, writers and even a ukulele-playing cook all bare their souls as they struggle to find the truths of life. And everyone discovers the disappointments of art, love and growing up in this skillful remix of Chekhov’s classic. “Makes us view the original with fresh, startled eyes.” -The New York Times Characters The dialogue in Stupid Fucking Bird is smart, punchy and often quick. In that spirit, we have written character descriptions that attempt to be smart, punchy and quick. Word. Con (Jacob Marker): Tortured playwright. Does not love the modern theater. Does love Nina. Dev (Tasi Alabastro): Affable. Funny. Loves Mash. And also cardamom. Mash (Sharon Shao): Gloomy. Plays ukulele. Makes good pie.
    [Show full text]
  • Pre-Show In-The-Know
    PRE-SHOW IN-THE-KNOW FAST FACTS ACTIVE AUDIENCE TITLE THINK ABOUT • The character’s inability to live life in the present - the now The Present after Anton Chekhov’s Platonov, by Andrew Upton • The character’s disenchantment with life • The tangled web of love and relationships in the play ABOUT THE PLAY • Russia in 1995 Love will tear us apart WATCH AND LISTEN FOR • Andrew Upton’s uniquely Australian comic wit incorporated Anton Chekhov’s first play was a sprawling, unstructured epic into the text but it marked out the style and themes he would return to in • The unfolding of a theme or idea across the course of the play his later masterworks from The Seagull toThe Cherry Orchard. It as opposed to a series of overt events creating the plot remains a mysterious, unpolished gem. • The naturalistic set of Act 2 and Act 4 and the more simplistic sets of Act 1 and Act 3 The manuscript, left unpublished until almost two decades af- ter Chekhov’s death, lacked a title. Over the years it has inspired MEMORABLE MOMENTS various adaptations – Wild Honey, Fatherlessness, The Disinher- • The wild dancing in the folly (the summer house) ited –but it is most commonly referred to as Platonov, the name • Anna, dynamite and the summer house of the man at its centre. And yet, the play has always contained • Act 3 where Mikhail is sitting outside and is visited by another extraordinarily rich and complex character – that of several characters in what seems to him like a “train station” Anna Petrovna.
    [Show full text]
  • Chekhov in English 1998 • • • 2008
    Chekhov in English 1998 • • • 2008 logo Northgate Books Oxford, 2008 i Anton Chekhov in English 1998 • 2004 • 2008 Compiled and edited by Peter Henry This bibliography was prepared for publication in association with Robert Reid and Joe Andrew, joint editors of Essays in Poetics, which was published at the University of Keele, Keele, UK, from 1976 to 2006. Northgate Books. Oxford 2008 i Also published by Northgate Books: Vsevolod Garshin at the Turn of the Century. An International Symposium in Three Volumes. Edited by Peter Henry, Vladimir Porudominsky and Mikhail Girshman (2000). This bibliography is accessible on the Neo-Formalist Circle page of the BASEES (British Association for Slavonic and East European Studies at http://www.basees.org.uk/sgnfc.html This is a private publication. Free copies are available from Northgate Books, 50 Collinwood Road, Risinghurst, Oxford OX3 8HL UK, or from Professor Peter Henry at the same address. Free copies are also obtainable by telephone: 44 (0) 1865 744 602 or by e-mail: [email protected] ii This modest publication is dedicated to the memory of Georgette Lewinson-Donchin, a renowned authority on Russian literature, an inspiring and supportive teacher and generous friend, who sadly passed away in February 2008. Georgette will always be remembered with much affection, admiration and deep gratitude. iii Acknowledgements It is my pleasant task to record my gratitude to the many people who have helped me with this bibliography: in the first place to Gordon McVay, Senior Research Fellow at Bristol University and a Chekhov specialist; likewise to Harvey Pitcher, Chekhov scholar and translator.
    [Show full text]
  • Directing Wild Honey
    A Faithful Interpretation of an Unfaithful Translation: Directing Wild Honey by Brian Cochrane BFA University of Saskatchewan, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in The Faculty of Graduate Studies (Theatre & Film) THE UNIVERSITY OF BRITSH COLUMBIA (Vancouver) September 2011 © Brian Cochrane, 2011 ABSTRACT A Faithful Interpretation of an Unfaithful Translation: Directing Wild Honey examines the preparation, pre-production and rehearsal process involved in staging Wild Honey at the Frederick Wood Theatre in March 2011. My objective was to stage a viable, engaging production of Michael Fraynʼs re- working of Chekhovʼs untitled play. My methods included in-depth table rehearsals, impulse blocking, and working with a vocabulary of active language to best interpret the text with the actors. This play is a great challenge and we continued to unfold new truths from the script right through until closing night. The paper includes an essay on why Frayn is the ideal person to translate and adapt the works of Chekhov, a pre-production analysis of the script, a journal chronicling the entire process from project proposal until closing night, and a short reflection on the process concluding with final thoughts on the production. ii TABLE OF CONTENTS Abstract.…………………………………………………………………………………..ii Table of Contents.………………………………………………………………...........iii Acknowledgements.…………………………………………………………………….iv Dedication.……………………………………………………………………………….v Chapter 1 Why Michael Frayn Is The Ideal Translator And Adaptor Of Anton Chekhov………………………………………………………………… 1 Chapter 2 Pre-Production Analysis……………………………………………... 11 Chapter 3 Production Journal……………………………………………………. 37 Chapter 4 Reflection……………………………………………………………… 72 Bibliography…………………………………………………………………………… 75 Appendices Appendix A: Costume sketches by Vanessa Imeson…………………….. 76 Appendix B: Set sketches by Amanda Larder…………………………….
    [Show full text]
  • The Early Plays
    Chapter 3. Failed Experiments: The Early Plays Literature, like art, serves one constructive aim and function: to reproduce the world outside, though it is not of course to be a carbon copy; the creative intelligence must not only render the truth of reality but also interpret and evaluate it. (Charles I. Glicksberg)1 ¼ it has been thought possible to create a new drama by filling the old forms with the contents of the newer age; but ¼ we have not got the new form for the contents, and the new wine has burst the old bottles. (August Strindberg)2 Chekhov did not immediately find the dramatic form that would function as the perfect objective correlative of his vision of reality. He began his career as a playwright by adopting the conventions of earlier well-established dramatic genres. As with his short-story writing, Chekhov underwent a period of literary apprenticeship before he was able to free himself from the use of these outdated and inappropriate techniques. As Simon Karlinsky points out: ©It was in The Seagull that this liberation first occurred, the creative breakthrough which made Chekhov as much an innovator in the field of drama as he already was in the art of prose narrative.©3 As Karlinsky suggests, Chekhov developed new formal techniques appropriate to convey his vision in the two quite different genres of the short story and the drama. Chekhov's fame as a playwright today has partially obscured the fact that, for most of his literary career, he was better known as a prolific short-story writer.4 Chekhov applied many of the techniques he had developed for the short story to the writing of his later plays, and, in particular, he carried over into his later dramatic technique an avoidance of overt theatricality.
    [Show full text]